The term "New York downtown jazz" is sometimes frowned upon by its practitioners, who tend to feel stylistically pigeonholed by the description and also linked to a certain club south of Canal Street, about which many feel ambivalent at best. There might be a number of reasons for these members of the New York creative music community to roll their eyes at yet another reference to "downtowners" (not the least of which being that many of them live in Brooklyn), but they must at least acknowledge that the downtown scene is usually described in positive terms – edgy, progressive, boundary-stretching, adventurous, non-idiomatic – in contrast to the Midtown scene surrounding Wynton Marsalis and Lincoln Center, which, while credited with keeping the flame of classic modern jazz alive in America, has also been accused of a certain stodgy, retro, parochial, and limited sensibility in today's current, all-encompassing world of jazz and creative improvisation.
This CD culls four works written between 1982 and 1996 (all recorded in 1997-1998), revolving around the notion of a labyrinth and the poetic world of Jorge Luis Borges. All the pieces employ instrumentalist and composer Lawrence Casserley on live computer processing. The pièce de résistance is Labyrinth, featuring Simon Desorgher on flute………François Couture @ Allmusic
French soprano saxophonist Emile Parisien is one of the most highly regarded European jazz musicians of our time. The three albums he made in just three years – “Belle Epoque” in 2014, “Spezial Snack” in 2015 and “Sfumato” in 2016 – have propelled him, at the age of just 35, to the top of the worldwide rankings on his instrument. One thing is abundantly clear: Europe has a new jazz star.